- 104: KINwith E Shiosaki 103: AMBLEwith E Gomez and S Gory 102: GAMEwith R Green and J Maxwell 101: NO THEME 10with J Kinsella and J Leanne 100: BROWNFACE with W S Dunn 99: SINGAPOREwith J Ip and A Pang 97 & 98: PROPAGANDAwith M Breeze and S Groth 96: NO THEME IXwith M Gill and J Thayil 95: EARTHwith M Takolander 94: BAYTwith Z Hashem Beck 93: PEACHwith L Van, G Mouratidis, L Toong 92: NO THEME VIIIwith C Gaskin 91: MONSTERwith N Curnow 90: AFRICAN DIASPORAwith S Umar 89: DOMESTICwith N Harkin 88: TRANSQUEERwith S Barnes and Q Eades 87: DIFFICULTwith O Schwartz & H Isemonger 86: NO THEME VIIwith L Gorton 85: PHILIPPINESwith Mookie L and S Lua 84: SUBURBIAwith L Brown and N O'Reilly 83: MATHEMATICSwith F Hile 82: LANDwith J Stuart and J Gibian 81: NEW CARIBBEANwith V Lucien 80: NO THEME VIwith J Beveridge 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith K Glastonbury 56: EXPLODE with D Disney 55.1: DALIT / INDIGENOUSwith M Chakraborty and K MacCarter 55: FUTURE MACHINES with Bella Li 54: NO THEME V with F Wright and O Sakr 53.0: THE END with P Brown 52.0: TOIL with C Jenkins 51.1: UMAMI with L Davies and Lifted Brow 51.0: TRANSTASMAN with B Cassidy 50.0: NO THEME IV with J Tranter 49.1: A BRITISH / IRISH with M Hall and S Seita 49.0: OBSOLETE with T Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with C Wakeling 47.0: COLLABORATION with L Armand and H Lambert 46.1: MELBOURNE with M Farrell 46.0: NO THEME III with F Plunkett 45.0: SILENCE with J Owen 44.0: GONDWANALAND with D Motion 43.1: PUMPKIN with K MacCarter 43.0: MASQUE with A Vickery 42.0: NO THEME II with G Ryan 41.1: RATBAGGERY with D Hose 41.0: TRANSPACIFIC with J Rowe and M Nardone 40.1: INDONESIA with K MacCarter 40.0: INTERLOCUTOR with L Hart 39.1: GIBBERBIRD with S Gory 39.0: JACKPOT! with S Wagan Watson 38.0: SYDNEY with A Lorange 37.1: NEBRASKA with S Whalen 37.0: NO THEME! with A Wearne 36.0: ELECTRONICA with J Jones
—After Rom Spaceknight #1, December 1979 It’s classic meet-cute. He’s a seven-foot cyborg on a quest to rid the galaxy of an ancient evil. She’s a small-town girl on her way home from work. She swerves to miss him. He …
Poetry debuts are not necessarily juvenilia. The vagaries of poetry publishing mean that by the time a poet’s first collection is published they often are, at least by some standards, emerging fully formed, able and ready to demonstrate their skill to a willing audience.
I’m Worried That My Increasingly Complex Shower Masturbation Routine is Unethical Because of The Amount of Water I Use
I use thirst as a guide to how much to drink. You absorb more toxins breathing in a hot shower than you do by drinking tap water all day. Evening seems fine. Nothing else has changed. I’m good now. The …
The Moon is not talking to us. That light is light that the Sun shines on the Moon. We are simply eavesdropping. Moonlight is an echo, a reflection. It is pre-loved light. Nothing that comes from the Moon is intended …
Thirty Australian Poets is a new anthology out of UQP that focuses on the work of poets born after 1968. It’s an intriguing conceit that invites comparison with the work of the Generation of ’68 without actually issuing a challenge per se, but at least prompting a ‘look where we are now’ conversation. Since this constraint naturally excludes both poets who make up Australia’s vibrant live poetry scene (who tend not to be as widely published on the page) and also talented poets whose work may not have yet been collected, the poetry on offer does tend toward the formal.”
Knuckled is the debut collection from Fiona Wright, and can I just start by saying that ‘knuckled’ is a great title for a book of poems? It’s a word that’s easy to understand, one that immediately brings images to mind (hands, fists, gnarled trees, walking-sticks) but also one that you don’t hear that often.
In the morning all that’s left is a clutch of feathers by the watertank, another by the front gate and one more on the verge. The door of the chookshed stands open, the lock unfixed for more than six months, …
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Magisterium is the second collection by Joel Deane, following on from his debut collection Subterranean Radio Songs and his debut novel Another. In an interview with Paul Mitchell published in Cordite in 2006, when asked about the interplay between his work as speechwriter for the Premier of Victoria and his other life as a poet, Deane cited American poet Eleanor Wilner, who said of poets that, 'We need to take back the rhetorical high ground from the politicians who degrade it'. Deane went on express the hope that the poems contained in his next book might approach 'the kind of apocalyptic public language' hinted at by Wilner.
It seems to me that a poem should – in general – be a self-contained unit, either easily understood or a puzzle that contains the key to its solution. I'm happy to make exceptions for poems written in different eras or countries – such poems might need annotations to compensate for unfamiliar historical or cultural contexts.
I've been puzzled by Michael Farrell's poetry for a long time. Sometimes I think I get it; but his writing is mercurial, and for every one of his poems that I've understood or enjoyed, there's another that leaves me cold or just confuses me. It's impossible to decide whether Farrell is doing something incredibly formal and intellectual that I'm not smart enough to understand, or whether he's tricking his reader into thinking that there's something deeper taking place when he's in fact only mucking around and playing crazy games with language.
I've played about with rule-generated writing once in a while, trying to find something within the genre that resonates with me. Early last year I combined a section of text taken from a dinosaur book with the track-listing from Frank Zappa's Strictly Commercial and ended up with a prose-poem called “The Third Fruit is a Bird” that I'm really happy with.
fish-based depression drug seen on market – have you seen this fish? to enter click here. sepa noswa esw wosw. have you seen this fish? email us! email us! i have seen whole schools of flying fish become airborne as …
you may designate which power binary will use regardless of what base you attack. you may use either or both of your powers. there are dozens of power-ups that make it into the gas guns. use them to discover methane …
BIO: Adam Ford is the author of a novel called Man Bites Dog, a collection of poems called Not Quite the Man for the Job, a zine called Jutchy Ya Ya and at least one comic called The Lives and Times of Jerry the Nerky Lizard. He also edits Going Down Swinging. Today he made a cartoon of a bouncing ball and it excited him so. Visit his homepage.
Most people can barely speak, let alone write. So it follows that mastery of the written and spoken word is a rare qualification. This does not, however, prevent an international swamp of hacks from turning contemporary culture into a poorly realised historical theme park of rehashed, diluted, ripped-off high points from an overly romanticised 20th century.
This collection features over a hundred pages of poetic platitudes about dogs and their loyalty, their friendship, the cute things and the cheeky things they get up to. The anthology was compiled by ex-Premier of Victoria Jeff Kennett, who put out a call for submissions while he was working at Melbourne talkback radio station 3AW.
My printer ran out of ink yesterday and wouldn't accept the refilled cartridge as legit. The ink light kept flashing until I spent sixty bucks on a new cartridge. A curse on the head of cartridge manufacturers and retailers. Ink is a valuable commodity, and we salute those who choose to use their ink to put their work out there, somewhere where people will read it.
When I go to second-hand bookstores and look through the poetry shelves, it's the books with staples, as opposed to spines, that catch my eye. To me the staple is the mark of the self-publisher, and self-published work, in my mind, is more likely to have that spark, that frisson of passion that really lets you see into the mind of the poet. Here's some reviews of some of the staple-bound gems on offer if you know where to look.
The ability to recognise samples, to pinpoint the source of a sound the slides from left to right speaker under the drum track, under the bass, weaving between the snare and the hi-hat and is gone in an instant, the …